Shure PEISL-SP, PE85L-SP, PE25L Series, PE25L-LC, PE25L-CN Quick Manual

THE

SOUND

OF

THE PROFESSIONALS

...

WORLDWIM

MODEL PEISL-SP UNlDlRECTlONAL

DYNAMIC MICROPHONE

PE85L-SP Supplied with

C25B

Cable,

A95

Llne Matchlng Transformer and

A55M Cush~oned Swivel Adapter

Take an

acoustlc design that approaches the theoretical Ideal and couple it

with a very

effectlve pop and wind filter in the ball-type grille. Then add a brand

new cushioned

swlvel adapter that eliminates

mechanical

now. Finally supply
a low-to-high impedance matching transformer and you have a complete
microphone system that is the professional's choice for every

occaslon and

every

appl~cat~on The PE85 has

~t

all!
Unusually effectlve and uniform unidirectional [cardioid] pickup pattern
mlnlmlzes feedback in live performance

w

Very w~de frequency response, ideally shaped for both voice and in­struments

w

Ball-type pop-filter grille reduces "p-popping" and breath nolse

w

Very effective internal shock mount minimizes handling noise

w

Cushioned shock-mount swivel adapter prevents transm~ssion of
microphone stand noise

High-output low-~mpedance cartridge
Low-to-High Impedance matchlng transformer supplied to permlt instant

attachment to any

microphone

Input without sacrificing cable length

w

Silent, magnetic-reed On-Off switch with lockplate

Nonreflective dark gray finish for professional appearance onstage
Extremely rugged and rellable

w

Backed by the Shure guarantee

Copyr~ght 1982. Shure Brothers

Inc

27A1803 (BF)

SPECIFICATIONS
Type

Dynamic

Frequency Response

50 to 15,000

Hz

[see Figure 1

]

a

-

+I0

6

g

O

-10

20 50 100 1900 10,000 20,OW

FREWENCl

IN

HERTZ

FIGURE

1

Polar Pattern

Cardioid [unidirectional]

Impedance

Microphone:

Low

[I 50 ohms rating]

A95 Line

Match~ng Transformer:

High [greater than 30

kilohms]

Output Level

[at 1,000

Hz]

MICROPHONE AS5

Open Circuit Voltage*

. . . . . . . .

-77.5 dB -56.0 dB

*O dB = IVlpbar [0.13 mV] [I .6 mV]

Power Level**

. . . . .

. . . . . . . . . . . . . . . . . .

-

57.5 dB

**0 dB

=

1 mW110 pbar

Phasing

Posit~ve pressure on

diaphragm

produces positive voltage on pin 2 of audio

connectors and on sleeve of phone plug

ON

-

OFF

CARTRIDGE

3-PIN

PROFESSIONAL

AUDIO CONNECTORS

SWITCH

CODED

CABLE

YELLOW YELLOW

BLUE

TRANSFORMER

PHONE

n

PLUG

SLEEVE

BLACK

FIGURE

2

Switch

Built-in magnetic-reed On-Off switch with lockplate. To lock switch On,

remove screw and turn lockplate 1

80°. Reassemble and tighten screw.

Cartridge Shock Mount

Internal rubber vibration rsolator

Case

Dark gray with dark gray spherical screen

Cable

7.6m [25 ft] 2-conductor shielded with 3-socket and 3-pin professional

audio connectors

Net Weight

[less cable]

298 grams

[I 0% oz]

Line Matching Transformer

Provides instant conversion of low-impedance microphone line to high im­pedance; 3-socket professional audio connector on low-impedance end
and

-inch phone plug on high-impedance end.

Swivel Adapter

Noiseless, cushioned desrgn, positive action, adjustable from vertical to
hor~zontal, for mountrng % "-27 thread

FURNISHED ACCESSORIES

Line Matchrng Transformer A95 Series
Swivel Adapter

A25B
Cushioned Sw~vel Adapter A55M
Padded Grg Bag 26A07

OPTIONAL ACCESSORIES

Windscreen

...............................

A61 WS Series

Floor Stand [Weighted base]

........................

MS-1 OC

Floor Stand [Tripod base]

............................

S15

BabyBoom

..................................

BE44

REPLACEMENT PARTS

.......................................

Cartridge R120

................................

Switch .90D1725

........................................

Cable C25B

............................

Screen and Grille RK225G

SHURE-QUALITY IS OUR FIRST CONSIDERATION

Congratulations on the purchase of your new Shure microphone! It will
serve you faithfully even in the most difficult circumstances. Because more
than 50 years of experience with microphones has taught us one thing: they
are not always used under ideal conditions. Far from it! So Shure develops,
designs, builds, and tests them for the worst conditions we can imagine.

We know they'll be flung into equipment boxes after performances. We
know they'll be called upon to function at humidity levels near 100%. We
know they'll be left in the direct rays of the midday sun for hours, waiting for
outdoor concerts to begin. Professional vocalists depend upon their
microphones much as musicians depend upon their instruments, but many
don't hesitate to throw their Shure microphones across the stage and down
on the floor-violently-as part of their performance. They never give it a se­cond thought. They know that Shure microphones shrug off abuse that would
make others fail.

Shure reliability begins during the design stage. Shure has a staff of
specialists whose sole function is to uncover any weaknesses before Shure
microphones are put into quantity production. During the testing process,
microphones are:

Heated at temperatures up to

85OC [I 85OF] often for entire days

Frozen down to

-46OC [-50°F] for half-hour periods

during

the heat test

Shaken from side to

s~de, back and forth, and up and down, simultaneously

and violently
Subjected to steamy humidities-up to 100% at room temperature and

93% at

3E°C

[I

OO°F]
Subjected to ultraviolet rays, salt sprays, alcohol, sand, and water
And for good measure, dropped repeatedly

2

meters

[6

ft] onto hardwood

floors.

That is our

standard

test procedure. All during production, units chosen at
random are put through these same tests. Failure of any one microphone
brings production to a halt until the original design requirements are again
met.

That's why at Shure we say, quality is our first consideration. The pur-

chasers of the millions of microphones bearing the name Shure during past

years, and those now buying their first Shure microphone can rely on us to

continue to follow the philosophy and policies that keep Shure microphones

working dependably-year after year after year.

Quality is our first consideration!

BASIC MICROPHONE TECHNIQUE

Good microphone technique will add to your effectiveness as a performer.

Keep the following points in mind when using your Shure Professional Enter-

tainer Microphone.

1. Maintain the proper distance from the microphone. When you want a

warm, full sound, get close to the microphone and lower your voice. For a
wide open, driving sound, raise your voice and back away from the
microphone to avoid overdriving the amplifier into distortion.

2.

Don't change your distance from the microphone needlessly as this will

affect the level of sound coming from the loudspeakers.

3.

Your Shure PE Microphone is your link to the audience. Consider the
microphone an instrument and develop your technique through practice.

FEEDBACK AND UNIDIRECTIONAL MICROPHONES

A performer's worst enemy in using a microphone is "feedback". This is a
harsh hum, howl, or squeal that occurs when the microphone picks up sound
from the loudspeakers, reamplifies and rebroadcasts it over and over again.
This vicious circle results in feedback.

A

unidirectional microphone aids in preventing feedback because it rejects
sound that originates from the sides and rear. Sound pickup from the sides is
reduced by about one half, and pickup from the rear is reduced by about nine

tenths. You can demonstrate this reduction in pickup by repeating "Test one,
two" or some other convenient phrase as you rotate the microphone from

front to back.

Using unidirectional microphones close to the performer or instrument en­sures that the direct sound will be much louder than the feedback-producing
amplified sound. Because the amplifier gain can be turned up less to achieve
the desired overall loudness, the amplified sound will likely remain below the
volume that triggers feedback.

Other helps in preventing feedback are:

keep the loudspeakers as far to
the sides as possible; be sure that the microphones point toward the per­formers and away from the loudspeakers; and make certain that any stage
monitor speakers are positioned in front of the performers and face the

in-

sensitve rear of the microphone.

UNIDIRECTIONAL MICROPHONES, OMNIDIRECTIONAL
MICROPHONES. AND PROXIMITY EFFECT

Because of thei; usefulness in reducing the likelihood of feedback, unidirec-

tional microphones are best in sound reinforcement and public address;

wh~le
omnidirectional microphones are best in recording where feedback problems
do not

arlse, or for close-m~king instruments and amplifiers.

When unidirectional microphones are used close to a vocalist or

mus~cal in­strument, there is an increase in bass [low-frequency] output called proximity
effect. At a distance of about

25

mm

[I

in.] a typical increase is shown on the

curve below.

Proximity effect can be used to improve your sound.

1.

With vocalists, it increases warmth, giving a fuller quality to the voice.

2.

With instruments, it provides a flat or boosted bass output w~thout tone
controls, simply by changing the distance between source and microphone;
and close miking provides natural isolation by minimizing bass pickup of
other instruments.

Most Shure unidirectional microphones are designed with a bass response
that provides control at low frequencies yet still allows proximity effect to be
used advantageously when desired. To employ proximity effect, you need to
hear the amplified result. Just as you practice your instrument, you

w~ll want
to practice your microphone technique to get the precise sound you want. [A
good way to hear the actual result of proximity effect is to use monitor
speakers or headphones if they are available.]

Omnidirectional microphones do not exhibit proximity effect when used
closeup. Because the response does not change with angle or distance from
the performer, an omnidirectional microphone is valuable when the sound
must stay the same for several performers positioned around the
microphone, or for a performer who moves from place to place during a play
or

~nterview. But be aware of feedback problems that may occur if omnidirec-

tional microphones are used when sound amplification is present.

CHOOSING A MICROPHONE EXTENSION CABLE

Low-impedance microphones can be used with practically unlimited lengths
of cable with no added noise or high-frequency loss. Any Shure 2-conductor
balanced cables

[e.g., C25B. C25E, C25F, C50F, C1 OOF, or C20H] can be
used as extension cables for Shure low-impedance microphones. These
cables can also be used in any required lengths or combinations between a
low-impedance microphone and the

C25G Low-to-High-Impedance Cable­Transformer or between the microphone and an A95UF Matching
Transformer.

High-impedance microphone cables are usually limited to 6.

I

m [20

ft]

to
avoid high-frequency loss or possible noise pickup. If longer cables are needed
with high-impedance microphones, use such Shure cables as the

C256,
C25E. C25F or C20H to reach the required distance. Then add the C20A to
plug into the equipment. Adjust the treble control on the equipment to com­pensate for the high-frequency

rolloff caused by the extra length of cable.

Look for the Shure

Audio Connection'"

for quality microphone cables.

GUARANTEE

This Shure product is guaranteed in normal use to be free from electrical
and mechanical defects for a period of one year from date of purchase.
Please retain proof of purchase date. This guarantee includes all parts and
labor. This guarantee is in lieu of any and all other guarantees or warranties,
express or implied, and there shall be no recovery for any consequential or in­cidental damages.

SHIPPING INSTRUCTIONS

Carefully repack the unit, have it insured, and return it prepaid to:

Shure Brothers Incorporated
Attention: Service Department
222 Hartrey Avenue

Evanston, Illinois 60204
If outside the United States, return the unit to your dealer or Authorized
Shure Service Center for repair. The unit will be returned to you prepaid.

Shure Brothers Inc.

Post Office Box

1582

Evanstoa, Illinois

60204

U.S.A.

PLACE

1 1

POST

CARD

PROFESSIONAL ENTERTAINER

MICROPHONE PURCHASE REGISTRATION

MODEL PURCHASE DATE

PURCHASED FROM

NAME:

What

will

this microphone be used for?

SOUND REINFORCEMENT [PA]

RECORDING

WE WANT AND APPRECIATE YOUR COMMENTS.

VOCALS ACOUSTIC PIANO ACOUSTIC GUITAR HORNS OTHER

-

CITY:

COMMENTS AND SUGGESTIONS:

DRUMS ELECTRIC KEYBOARD ELECTRIC GUITAR HARMONICA

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NAME

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ADDRESS

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ZIP

CODE COUNTRY

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PHONE

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